Lepota L. Cosmo
Humour is the remnant of perfect language, the residuum of pristine speech. Superspeech as wordiness, long-windedness, grandiloquence, garrulousness, chattiness, glibness, is formal expression of talkativeness, purposeful and stylish speech within limited budget of time and colloquial words. Speech is imposed but with intent purpose and metalingistical discourse, positioned within linear budget and its transcending function. Its rational limitations are rather projected to transcendental style of rhetorics, or funds of noncolloquial word and expressions. Superspeech is metalingual phenomenon where as its metalinguistic nature produces useful lingual values. In concept of lingual vocation, superspeech is intentional rhetoric capability, superb lingual practice unique ability to use words, phrases, or a vocal.
Humour is the remnant of perfect language, the residuum of pristine speech. Satire once was prior source of rhetorics with countless forms of expression. We easily generate new figures and linguistic solutions, a forms of speech as the instrument that is pre-set to ordinary speech and linguistics, level of conversation (Attaro, 2004). Words are game of meanings. Superspeech is metalinguistic post-meaning and by itself figure of speech or meta-linguistic figure. And, superspeech is quoting itself, using itself as meta-subject, taking word as modality, using modality as an instrument; as original language can be pro and post, in priority to citations. Its metalogic is of the same structure, so that transcendental logic could be researched through improved logic because it seems the logic is the pure remitent of transcendental logic of speech. What will be said nobody said before, and even more nobody will say after. My creation is restrain for futher creation, the bigger creation, the scarcier creativity in future will be. By creating new we prevent new. By creating new we distroy past, and prevent future by reducing opportunities of expression. The scarcier opportunities, the scarcier production will be. The more I have said it, it seems that the less it will be said. Immense talk, creates immense silence. Logic is understood as fund, technical category with semantic bugdet and limited production (Lyotard, 1985). Limits of production are repeatable, so that elements, forms, should be combined only once or to creation of one output that can not be used furhter in linguistic function. If the language function is linear it will diminish the future. Different talks are expressed in functions of meanings, as functions are understood as curves that rubs in colloquium or linear interchange. Colloquium stands opposite to original language, as the original language has it limitations in linear function. Try to escape trap of linear functions is made by metalinguistics in the category of metalogic. Productivity should not be limited or impose limits, implying that there are no scarce funds, words are not real, there are nor expendable nor repeatable. Metalinguistics would provide us with assumption that words production would merge in metalogical sence creating original speech, where the future would be in dialogue with the present, creating even more original flow. Creativity could not diminish further creativity, although it can use wide scopes of forms and categories. In ordinary view, once something is created it can never be created again. Metaspeech, however, will produce metaspeech. Creative talk will perpetuate creative talk based on transcendental logic and its metaforms. Metalanguage is in the dicourse of creative reception. Creativity is a continous process as original speech would rather have dialogue than thematical future. Creation is unlimited in its process, forms are not. Form is limited without productivity, with the creativity it is in dialogue with metaspeech. Creativity will be incentive for creation in future, and will not produce scarcity of the expression, but rather proliferation of forms and words in dialogue with its metalinguistics. That forms here could be labeled as metaforms. Oratorical skills will include ordinarily modalities, producing them from conditional to the semantic. By changing conditional, semantic becomes conditional, and words produce reality. Words once were conditions, conditions as ranks of words, the modalities of understanding that speaker will express. By expressing it, he proves that modalities are of linguistic nature. Speaker speaks to change the world, not to be boring. Speaker changes world with skilful expression, speaking strangely about ordinary, speaking on condition of listening, and by turning it into an ordinary and expressing new words that yet become conditions, to produce modalities, the words of a higher rank. Speech aims to encourage, change, create. Its guidance is recognized in the creation of conditions, conditions that have been changed through proactive locution and linguistic order. Accepting the new conditions of speech as a basis requires changing of active listeners in relation to the subject, the subject that is not always the speaker, and the speaker who is always the subject. Metaspeech is interesting because it says more than expected. It is ontological linguistics, expression of both speaker and listener. Listener is not trill because speaker say so much, as for the reason that it is expression about him. Meta speech talks to the subjects a priori. It is expression of modality and inner form of speechless subject. Lovers do not love song, but their love within the song. Listeners are realised as expressed subjects. Subject is identified with metaspeech, although it is not his, he is in dialogue with perfect language. It seems that the perfect language is something within modality, modality of changing and capturing words. Words become real when modality is colloquial. Changing ranks of words, simply by moving in lingual logic, or the linguistics of ranks, makes metalanguage interesing enough. Metaspeech is the process reverse to logic of the linguistics. Metalinguistics are rather applied logic or linguisation of logic, here defined as metalogic. Subject is perceptive to the poetry of structure, and unarticulated. Creativity is therefore, metaphysics of art.